Dapple and Dazzle at Osnova gallery / Moscow

Etymological meaning of the word «Dapple» is «differing in color». Thus we should focus on the
dialectic of the infinite visual work. What makes dapple a dapple is not a dapple itself, but it’s
distinction from what surrounds it. From this point of view, art gesture (only exists as a result of
other art gestures’ existence or vice versa due to its’ absence) exists only because of the existence
of another art gestures or their absence.

Dazzle, represented in one of the works, is etymologically dual: it origins from the word «to
change», and it is the changing of perception that makes a dazzle. Works by Collin Penno and
Raul Diaz Reyes, presented at the exhibition, continue this constant dialectic, incorporating it with
the dialectic of space exploration, which in its turn creates third round (circle) of dialog between two
dualities: form and space.

This never-ending search of relations between color, form, space and subject, which occur on the
verge of or inside the work, seem to fully support the fundamental idea of «difference» formulated
by French philosopher Jacques Derrida: everything that exists is always decentralised in
comparison with itself and, therefore, mostly cannot be expresses with signs. Sign system, visual,
in this case, is understood by Derrida like «bundle», tangle of feelings or power lines, constantly
searching for balance between the line and its own dimension. Distinction of elements turns out to
be the powerhouse discourse, that finds its personal, closest to reality, meaning in its states’
dissimilarity, (being constantly uncovered and drawn nearer) numerously times uncovered and
numerously times zoomed on.

The energy of contradiction in Collin Penno’s work, which might occur in comparison between
three-dimensional form and colorful «formulation», is filled with most certain meaning of word
«difference». The never-ending sound occurs from this contradiction.

In fact, Penno does not want and does not look for harmonization of formal grounds. What appears
to be the hardest, is to choose either the perception of complicated form or focus on extensive
internal artistic concepts. The latest works of his might be understood as final chapter of the
longterm conceptual and experimental analysis of representational, intermedia and transmedia
conventions. Colin Penno initiates polemics in the field of typical perspective and dissolves borders
between media and academic disciplines.

Сoncept of «difference» in the work of Raul Diaz Reyes can be seen in simultaneous presence of
visually «blured» forms and more definite element, referring us to the postmodern architecture.
Unity or, to be more specific, separation of these two elements, which finds balance in the works of
Reyes, generate surfaces within space limits or technical laws: the image is observed as a figure,
the image becomes its part, generating new landscapes with variable compositional opportunities.
Final system of signs tells about sculptural abstractions, in which edges of form construction play
with bigger tactility, due to usage of various materials.